Tag Archives: 1962

So I finally got to see “Who’s Afraid of Virginia Woolf?” (1966) last night.

There is much to admire about Mike Nichols’ 1966 adaptation of Edward Albee’s 1962 play — but nothing stands out like Elizabeth Taylor’s performance.  That woman’s skill as an actress was stunning.  She was indistinguishable from the doomed character she portrayed, opposite her then-husband, Richard Burton, in a tragedy about a baroquely twisted marriage.  I would  easily place her on par with the likes of Dustin Hoffman, Anthony Hopkins or Sissy Spacek.

When I was a kid in the 1980’s, I thought of “Liz” Taylor as some “old” actress from my parents’ time.  (And she frequently seemed like some sort of joke to adults on television who traded in celebrity gossip.)  But now I understand that she had genius-level talent.  Damn.

Postscript — the 1967 poster below was obviously produced in France.

Postscript 2 — I am linking below to Fábio Camargo Corrêa’s Youtube channel.



Poster for “The Day the Earth Caught Fire” (1961)

Universal Pictures, British Lion Films.  1961 was the release date in the United Kingdom; 1962  was the release date in the United States.

“The conquest of the physical world is not man’s only duty.”

“There are, forever, swamps to be drained, cities to be created, mines to be exploited, children to be fed. None of these things can be done alone.

“But the conquest of the physical world is not man’s only duty. He is also enjoined to conquer the great wilderness of himself. The precise role of the artist, then, is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.”

— from James Baldwin’s “The Creative Process,” 1962



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Source: The Marginalian

“But the conquest of the physical world is not man’s only duty.”

Perhaps the primary distinction of the artist is that he must actively cultivate that state which most men, necessarily, must avoid: the state of being alone.  That all men are, when the chips are down, alone, is a banality — a banality because it is very frequently stated, but very rarely, on the evidence, believed.  Most of us are not compelled to linger with the knowledge of our aloneness, for it is a knowledge that can paralyze all action in this world.  There are, forever, swamps to be drained, cities to be created, mines to be exploited, children to be fed.  None of these things can be done alone.  But the conquest of the physical world is not man’s only duty.  He is also enjoined to conquer the great wilderness of himself.  The precise role of the artist, then, is to illuminate that darkness, blaze roads through that vast forest, so that we will not, in all our doing, lose sight of its purpose, which is, after all, to make the world a more human dwelling place.

— James Baldwin, The Creative Process, 1962

Source: The Marginalian



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Cover to “House of Mystery” #129, Mort Meskin & George Roussos, 1962

DC Comics.

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Cover to Richard Matheson’s “The Shrinking Man,” Art by Mitchell Hooks, 1962

Gold Medal Books.

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Poster for “La Jetee” (1962)

Argos Films.

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Throwback Thursday: “Day of the Triffids” (1962)!

I remember getting excited about seeing “Day of the Triffids” (1962) for the first time.  It was the early 2000’s, and the advent of DVD-by-mail services enabled me to hunt down all the various apocalyptic sci-fi movies I’d heard about as a kid — including a few that I’d only seen portions of, because I’d tuned in late.  (The local video stores I’d grown up with had some of these films, but not all — and my interest in the sub-genre was truly exhaustive.)

“Day of the Triffids” was mildly disappointing.  It was positively lethargic for an end-of-the-world monster tale, even if those monsters were slow-moving plants.  (It’s a good bet that John Wyndham’s 1951 source novel did a better job with the story concept.)

I ordered this DVD through Blockbuster Video.  Here’s a little movie industry trivia for you — Blockbuster briefly had a DVD-by-mail offer that was better than the one pioneered by Netflix.  (You actually got more movies out of it, and you got them quicker.)  But this was around the end of the prior decade; Netflix had already won the war for the home movie market, while Blockbuster was suffering its first location-closing death rattles.  And the DVD-by-mail business model was itself becoming largely obsolete, anyway — the twin threats of Redbox kiosks and online movies saw to that.

 

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Poster for “The Day the Earth Caught Fire” (1962)

Universal-International.

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U.S. Christmas Stamp, 1962

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